Shawn Campbell

BIO

Shawn Campbell is an artist located in the Southeast United States. He earned a bachelor of fine arts with a concentration in photography from The University of Akron and a master of fine arts with a concentration in studio art from The University of Georgia. Borrowing from the aesthetics of Minimalism, Baroque, Pop Art, and Byzantine iconography, Campbell’s work utilizes a variety of mediums including photography, sculpture, video, installation, and painting. The work is able to function in a broad and open manner due to its recognizable media and art-historical references, presenting questions and granting the viewer the opportunity to connect within the work openly.

ARTIST STATEMENT

The American Cowboy is more of a Myth than a man who herds cattle, it is an illusion of a set of ideas that are presented to the world as a way to strive. These ideas include but are not limited to being honest, hard working, be a gentleman, be tough, and be short and to the point. The cowboy like the American dream is something that has been assembled to present to the masses as a way they should forge themselves to become something better. The construction of the American cowboy is based on fact and fiction, it is always changing and repositioning itself with the passing of time. The Myth of the American Cowboy has had the ability to embed itself on a global scale muddying the waters of what is glorified and what was fact. Campbells work builds upon these aspects presenting information to viewers in a way that allows for a personal discovery into the world of The mythos of the American Cowboy.

Interview with Shawn Campbell

Can you tell us a bit about your background and how you became interested in becoming an artist? Who or what were some of your most important early influences?

I am originally from Akron, Ohio and grew up surrounded by family who worked with their hands. I became interested in art when I took a photography class in high school which sent me on my path of being an artist. Early Influences for me were Piet Mondrian, Donald Judd, and Lyga Clark.

Where are you currently based and what initially attracted you to working in this place? Are there any aspects of this specific location or community that have inspired aspects of your work?

I am located in Atlanta, Georgia and found myself here because it seemed like the best place to go after I graduated from grad school. Atlanta is an interesting place. It is weirdly sprawling for a city and has so many different people coming and going because of its reliance on the interstate systems. I have really been drawn to this movement and ability to come and go.

Can you describe your studio space? What are some of the most crucial aspects of a studio that make it functional? Do any of these specific aspects directly affect your work?

My studio is located in a two car garage with an upstairs loft space in a residential neighborhood. I would say a crucial aspect of my studio is having a workshop downstairs and a digital space upstairs that I can float between when working. This way of working has helped grow my work; allowing me to work several processes and pieces at a time giving me a moment to step back so that I can fully digest what is going on with the pieces.

What is a typical day like? If you don't have a typical day, what is an ideal day?

A typical day for me is going to my 9 to 5 in the morning and then heading to the studio after work. I usually work on some simple things during the week and then on the weekend I work through large components of a piece that takes several hours.

What gets you in a creative mindset?

It just depends but when I find myself in a sluggish mind set I like to comb through public archives just looking at what visuals I find when typing in random words or I will go to a thrift store / hardware store to look at objects and materials.

What criteria do you follow for selecting materials? How long have you worked with this particular media or method?

Materials are complicated. I kinda enjoy materials finding me either through research within the work or getting it for free, at the moment I have been using a lot of plywood for the last several years. I have enjoyed the material because of its accessibility, cost, and how it is a foundation building material showing structure and in progress.

Can you walk us through your overall process? How long has this approach been a part of your practice?

I usually start with archives looking at images, videos, objects and from there once I become interested in something I research that. This usually leads into some sketching or manipulating files on the computer. Then I will make an object from the sketch or come up with something playing with materials. But most of the time I'm just making bad art trying to figure things out.

Can you talk about some of the ongoing interests, imagery, and concepts that have informed your process and body of work over time? How do you anticipate your work progressing in the future?

I have been interested in the Myth of The American Cowboy and how it has become what it has become while also influencing the idealized image of America. The work has been exploring western movies, products that have used western themes within ad campaigns, mythology, and the history of the American west. I am not really sure where the work is heading, I am still early in the work's progress.

Do you pursue any collaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors?

At the moment I am working within the prototype / Comp industry for consumer products. My job has become an important aspect of my studio through material exploration and the research into products that have used Western themes to promote or sell themselves.

As a result of the pandemic, many artists have experienced limited access to their studios or loss of exhibitions, income, or other opportunities. Has your way of working (or not working) shifted significantly during this time? Are there unexpected insights or particular challenges you’ve experienced?

I have been lucky to have a job that I was able to keep working during the pandemic and a studio practice that did not rely on spaces with other people. So I’ve been lucky to just go to my studio and really spend a lot of time there during this pandemic without a lot of distractions.

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music—that are important to you?

I have been really drawn to western tv shows from the 50s and 60s and how low budget they are, I've especially been drawn to the reusing of sets and props throughout the shows. Also I have been looking at Cady Noland's installations, especially her piece at the Master factory.

Who are some contemporary artists you’re excited about? What are the best exhibitions you’ve seen in recent memory and why do they stand out?

Cady Noland, Cosima Von Bonin, Joseph Bueys, Lygia Clark, and Donald Judd. I saw Ragnar Kjartansson The Visitors at the high and it was great there were several video channels all linked together and I kept finding myself looking at little details in the spaces the characters occupied.

Do you have any tips or advice that someone has shared with you that you have found particularly helpful?

I had a professor tell me that, “You can sell a bad idea with a good presentation but you can't sell a good idea with a bad presentation.” I have found it really helpful over the years

What are you working on in the studio right now? What’s coming up next for you?

I have been reworking pieces that I have been living with in the studio that I don't like anymore. I have a show coming up in March at The End Project space where I am exploring aspects of installation.

To find out more about Shawn Campbell, check him out on Instagram or on his website.